Concerto Grosso in G, Op. 6, No. 1, HWV 319 Cover Image

Concerto Grosso in G, Op. 6, No. 1, HWV 319: String Orchestra, Solo Strings with Ensemble, Solo Vc (EDWIN F KALMUS)

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Concerto Grosso in G, Op. 6, No. 1, HWV 319 Cover Image
Concerto Grosso in G, Op. 6, No. 1, HWV 319: String Orchestra, Solo Strings with Ensemble, Solo Vc (EDWIN F KALMUS)

Concerto Grosso in G, Op. 6, No. 1, HWV 319: String Orchestra, Solo Strings with Ensemble, Solo Vc (EDWIN F KALMUS)

By George Frideric Handel, ed./arr. Wilhelm Weismann

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Description
George Frideric Handel's (1685-1759) Concerti Grossi, Op. 6 (also Twelve Grand Concertos, HWV 319-330), are a collection of twelve concerti grossi for two violins and cello with an accompanying four-part string orchestra and harpsichord continuo, and they are among the best examples of the Baroque concerto grosso. Modeled more on Arcangelo Corelli's concerto da chiesa and concerto da camara than on Antonio Vivaldi's three-movement form adopted by J.S. Bach, these 1739 works were composed to be performed during the intermissions of Handel's oratorios. Among the twelve Concerto Grosso can be found a mixture of original music and music borrowed from other works by the composer. No. 1 in G Major, HWV 319, borrows from the overture of Handel's Italian opera Imeneo, reworking it completely for the first movement. The fifth and final movement also quotes liberally from Domenico Scarlatti's Keyboard Sonata in G Major, K. 2. Instrumentation: Str (2-2-2-1-1 in set): Hpchd (in set): Soli Vn(2).Solo Vc. (2 oboes were later added by Handel, and those are included in Kalmus number A7858, critical edition.) This urtext edition has been edited by Wilhelm Weismann.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852466-5
ISBN13: 979-8-88-852466-4
UPC: 676737754907
SKU: 36-A115048VC
Instrumentation: Str (2-2-2-1-1 in set): Hpchd (in set): Soli Vn(2).Solo Vc

More about this title

About the Composer: George Frideric Handel

George Frideric Handel (1685–1759) was a master of both opera and instrumental music, composing with equal fluency across genres and languages throughout his long career in London. His gift for memorable melody and structural clarity shaped the Baroque concerto grosso into a form that rivals the works of Vivaldi and Corelli, combining Italian brilliance with German sophistication.

Why we love this

This concerto grosso bridges the gap between technically accessible Baroque repertoire and genuine musical substance. The interplay between solo strings and ensemble creates natural dramatic moments without demanding virtuosity, making it ideal for orchestras seeking to explore Handel's instrumental language beyond his well-known overtures.

What to expect

Elegant and purposeful, with the opening movement drawing from Handel's operatic sensibility to create immediate melodic appeal. The work unfolds with classical restraint balanced against moments of genuine warmth, moving between sections of bustling ensemble work and intimate solo exchanges that feel like intimate conversations within a larger gathering.

Who it's for

String orchestras at the intermediate to advanced level seeking substantial Baroque repertoire that develops ensemble discipline and solo-tutti balance. Directors looking to program a complete concerto that demonstrates the structural sophistication of Handel's instrumental writing will find this edition particularly valuable.

How to get the most out of it

  • Balance the two solo violins with care; they should sing out clearly over the ensemble without overpowering the accompanying string sections.
  • Give the solo cello room to breathe in its passages; this role demands sensitivity to phrasing rather than sheer technical display.
  • Maintain steady harpsichord continuo support throughout, anchoring the harmonic foundation while allowing the upper voices to maintain their independence.
  • Shape phrases with attention to the Baroque aesthetic: clear articulation of beginnings, shaped dynamic arcs within phrases rather than sudden changes, and slight tapering at cadences.

How to use it

Program this as a centerpiece for a concert exploring Baroque instrumental forms, pairing it with concertos by Corelli or Vivaldi to show the evolution of the genre. It also works excellently as a bridge piece between a Baroque vocal work and Classical-era selections, offering both historical continuity and stylistic variety.

Skills your students will build

  • Maintaining independent musical lines while responding to ensemble balance
  • Baroque style articulation and phrasing conventions
  • Sustained tone production with appropriate vibrato control for the period
  • Reading from figured bass continuo notation
  • Navigating the concerto grosso texture with clear solo-tutti delineation

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